If creative businesses and organisations are not made central to the government’s economic plans, the UK’s creative industries risk falling behind international competitors.
That’s the conclusion of a report by the House of Lords Communications and Digital Committee.
Following an inquiry into the future of the UK’s creative sector amid increasing global competition and technology-related disruption, the committee said the government’s approach can be categorised as complacent, missing opportunities and failing to recognise the sector’s commercial potential.
All this, the report said, is despite the following statistics:
The UK is world leading in many specialisms within the creative industries, the committee said, but rapid technological advances are changing the nature of the sector, and international competition is rising.
“We heard mounting concern that the UK’s success was being taken for granted, and increasingly at risk,” the report warned.
Among the committee’s key concerns were the government allowing other countries to create more competitive tax incentives, proposals to relax intellectual property law which threaten creative sector business models and a “perception in government that DCMS [Department for Culture, Media and Sport] is the ‘ministry of fun’ rather than a key driver of economic growth”.
Julia Lopez MP, media and data minister within DCMS, referenced the “ministry of fun” description during the inquiry. She said:
“I want it to be understood as the ministry of a major economic growth area, future technologies … it is incredibly important that we do not try to diminish the public perception of what are fundamentally important industries and ones where the UK has a real competitive advantage.”
📢Out now: our report on the UK’s creative industries, covering
👉How technology is disrupting the sector
👉How the UK’s world-leading position is at risk
👉How Government policy can harness the sector’s potential to turn it into an engine of growth📰:https://t.co/14Z8PfkQzO pic.twitter.com/S5GZu9CSdj
— Lords Communications and Digital Committee (@LordsCommsCom) January 17, 2023
The committee made several recommendations including:
The recommendations mirror a report released last September by Bristol Creative Industries which also called for action on R&D tax relief and skills.
Baroness Stowell of Beeston, chair of the Communications and Digital Committee, said:
“The UK’s creative industries are an economic powerhouse and have been a huge success story. But the fundamentals that underpin our success are changing, and rivals are catching up. The government’s failure to grasp both the opportunities and risks is baffling.
“International competitors are championing their creative industries and seizing the opportunities of new technology. But in the UK we’re seeing muddled policies, barriers to success, and indifference to the sector’s potential. We acknowledge the government has introduced important programmes in recent years, but we are concerned past success has bred complacency.
“Our report sets out some immediate challenges that the government can address now.
“These include improving R&D tax policy to stop excluding innovation in the creative sector; abandoning plans to relax intellectual property rules which would undercut our creative businesses; making the Department for Education wake up to the reality that the future lies in blending creative and digital skills rather than perpetuating silos; and urging senior figures across government to take the creative sector’s economic potential more seriously.”
A creative force: Unleashing the power of Bristol’s creative industries
What the government should do to support the creative industries
A guide to funding for creative businesses
HAPPY NEW YEAR!
2022 was a pretty transformative year for Keep Art It.
Special thanks to:
Director Douglas Karson highlights:
We’re thrilled to bits about what’s coming next!
Building communities of global thinkers and explorers around the world, Bayswater combines two of life’s greatest adventures: education and travel. Bayswater is an international educational provider on a mission to educate and inspire the next generation through a life-changing educational experience.
Following their acquisition of Eurocentres – a renowned language school, and opening new campuses in locations around the world, Bayswater approached Fiasco Design with the brief to capture their progressive outlook on education; to challenge the status quo; and design a visual brand that is fit for the expansion of the business.
“We were tasked with developing an identity that is dynamic, progressive and optimistic, a fresh take for an educational brand. Harnessing the spirit of adventure, the brand idea celebrates travel and Bayswater’s global community.” – Ben Steers, Co-founder and Creative Director, Fiasco Design.
A suite of bold, colourful patterns are the backbone of the visual identity, reflecting the vibrant and diverse community taking a bold leap into new experiences. Whilst the brand palette and typographic system works to capture the aspirational and energetic tone of the brand.
The logo with its coloured pathways represents students of different backgrounds following their own unique pathway; uniting in the Bayswater community to be a part of something greater.
Typeface Fann Grotesque helps to ground the playful visual identity, giving the brand name a characterful, yet trustworthy feel. A reassuring nod to parents.
Meanwhile, photography is intended to feel active and optimistic. Celebrating individual personalities, the imagery is inclusive of a diverse global community of students.
The end result is a spirited brand that inspires the next generation to embark on the educational adventure of a life-time.
“We established Bayswater in 2017, but after rapid expansion and the integration of a variety of legacy industry brands, we wanted a reset and to double down on the Bayswater name with an exciting new brand canvas. It’s been great working with Fiasco on our full rebrand. We have appreciated the process, it’s been very collaborative and it’s very exciting to see the new look come to life across so many different platforms and formats.” – Stephan Roussounis, Founder and Managing Director, Bayswater.
You can read the full case study here.
As 2022 draws to a close we’re delighted to be ending the year with top-line growth of +40%. We’ve welcomed major new clients and projects including, Bristol Innovations, Loughborough School of Business & Economics, premium plant-based nutrition brand Vivo Life, Made Smarter Innovation, Medi-Tech innovator Radii Devices and law firm TLT.
We moved to a new home in Engine Shed in March, the natural location for our focus on scaling innovative organisations. From here we continue to support leadership teams in this enterprising region which recorded an investment flow of £1.1bn in 2021 – putting it into the top 20 in Europe.
Moving into 2023, we’ll continue to work alongside The University of Bristol, developing its commercial quantum offering, The Enterprise Sessions and other projects.
And our ongoing relationship with Vittoria, the world’s most advanced bicycle tyre company, has also flourished and we’ll continue to support the leadership team on global brand development. Notable achievements this year include supporting the launch of the 5-hectare Vittoria Park next to the brand’s HQ in Brembate Italy and advertising projects including the benchmark-busting OWN THE UNKNOWN campaign which brought about a collaboration with the Velosolutions team and percussionist Ian Chang.
We also captured the spirit of the brand for internal and external audiences with their Manifesto film.
“It’s been a fantastic year for Firehaus. We’ve worked with some inspirational people throughout 2022 who have maintained a visionary approach to the role of their organisation – even in these difficult times. Each of them is changing the world for the better and it’s great supporting them in that endeavour. We’re super-excited about what’s to come!”
Ian Bates – Founder and Creative Partner
We asked Bristol Creative Industries members to tell us what they think culture secretary Michelle Donelan should do to support creative businesses.
Joanna Randall, managing director, Purplefish (see the Purplefish BCI profile here):
“The creative industries in the UK have the potential to be at the forefront of the new government’s push and focus for economic growth. Populated by ambitious entrepreneurs who thrive on commercial success, the industry is the powerhouse which fuels so many other sectors to flourish.
“However, while there is sustained and significant support for some parts of the creative sector – notably gaming technology, AI and the film industry – the wider creative sector businesses do not get access to this and have been left to weather the rollercoaster of the last three years coping with the pandemic, Brexit and inconsistent government leadership. The wider creative sector has not had the benefit of the same support offered to hospitality and retail.
“Indeed, creative agencies including marketing, design, advertising, digital and communications continue to increase in number in the UK but support in the form of tax credits, grants and targeted investment does not match what our colleagues in the technology and film sectors experience.
“The other area where our industry is facing an enormous challenge is in skills and staff. There are estimated to be 40% more marketing jobs in the UK compared to 2021 (source: Association of Professional Staffing Companies and Vacancysoft). We are facing a skills shortage like never before and without investment in talent programmes and awareness raising of opportunities and career paths into creative careers our future industry growth will be significantly thwarted.
“Tangible and accessible support is now vital for our sector and by extension, the wider UK economy; without the pervasive services our industry provides to every UK business sector new government economic growth targets will not be achieved.”
Matthew Pink, brand director, BASE (see BASE’s BCI profile here):
“Bristol and the South West are often rightly considered a hub for tech entrepreneurialism and innovation. However, an overlooked aspect of the region is that it is also a hub for brands and businesses who blend competencies across the culture secretary’s exact remit (digital, culture, media and sport) to promote healthy and active lifestyles.
“The UK has a mental health crisis and obesity crisis putting huge pressure on an already buckling NHS. Contemporary and forward-thinking media brands in the adventure and outdoors activity space like us at BASE, Global Cycling Network and brands like Bike Radar at Immediate Media, use smart creativity, digital media and sport culture insight to drive participation and deeper awareness of the benefits of an active lifestyle in the outdoors.
“The problems the government faces are intertwined and interrelated across its different departments. I would urge the new culture secretary to support businesses which harness the elements of her department’s remit to support positive societal change, not just profit.”
Catherine Frankpitt, director, Strike Communications (see Strike Communications’ BCI profile here):
“As the recent Bristol Creative Industries Creative Force report shows, the creative industries include many freelancers, sole traders and micro businesses, who collectively make an enormous contribution to the UK’s creative output and achievements. Yet we are often overlooked when it comes to government support and recognition of the value we bring.
“As we saw during the pandemic, many of us were excluded from schemes such as furlough, and so far, there is very little mention of specific help during this cost of living crisis. We would like to work with the government to find solutions that are tailored to work for us.”
Tom Vaughton, founder and manging director, Varn (see Varn’s BCI profile here):
“We would love to see Michelle Donelan focus on building awareness and championing the South West as a hub of creativity and excellence across digital marketing, as well as promoting our area as a destination of outstanding creative employment opportunities.
“We want future leaders in our industry to look outside of London and be excited by the prospect of working in outstanding creative businesses in our area, as well as the joy of living in beautiful places to enhance their wellbeing and quality of life.”
If you’re a Bristol Creative Industries member and you’d like to add a comment, email Dan.
How can creative businesses deal with rising costs?
A creative force to be reckoned with: Unleashing the power of Bristol’s creative industries
What does the government’s ‘Build Back Better’ plan mean for the creative industries?
Creative industries can be ‘a catalyst for post-pandemic recovery’
Natalie Howells, Armadillo’s Senior Conceptual Copywriter, recently spoke to Little Black Book about being creative within constraints, opportunities to make customers feel loved and why they don’t mind helpful use of their data.
LBB: What’s the number one question that clients are coming to you with when it comes to how they can better use data to enhance the creativity of their content and experiences?
Natalie: How to use data to enable connected, relevant customer experiences across channels and throughout the funnel. And how to use that data in a creative and compelling way to enhance the brand experience.
LBB: How can you make sure that data is elevating creative rather than forming a windtunnel effect and knocking all the interesting or unique edges off that make something distinctive?
Natalie: This is one of the areas I’m especially passionate about. I know some creatives worry that the data will create homogeneity and pull us away from the more interesting and unique parts of creativity. I disagree.
Data will absolutely give us a direction, but so will plenty of other things – clients will have a direction they want to follow, and laws and regulations impose barriers to what we can and can’t do. So, we should all be used to being creative within some constraints. But, more importantly, data doesn’t actually constrain us – if we’re clever in how we use it, it can spark new ideas, breathe life into old ones, and validate approaches we may not have been able to try before. It’s up to us as creatives to let the data inspire us rather than discourage us.
LBB: Can you share with us any examples of projects you’ve worked on where the data really helped boost the creative output in a really exciting way?
Natalie: We created an anniversary campaign for McDonald’s, where app-users would receive a personalised email celebrating their use of the app for the prior 12 months. We used data to identify the times of day that people preferred to order, the channels they used the most, and their most popular menu item.
Then we presented this is an interactive email where the user could expand content panels to find out how their results compared to the rest of the UK. An individual might receive an email dubbing them a ‘Night owl orderer’ and a ‘Drive-thru and thru-er’, along with an offer and personalised menu suggestions.
LBB: More brands are working to create their own first party data practice – how can a brand figure out whether that’s something that is relevant or important for their business?
Natalie: I think the question is ‘what brand wouldn’t want a first party data practice’? It’s relevant to everyone. Think about it – if you could create an audience of your most engaged and most valuable customers, what could you do with it?
First party data gives us an audience that have explicitly indicated their interest in a brand. The data gives us opportunities to make those customers feel loved and appreciated. It enables us to make media, across all areas, more focused and efficient. And it helps us develop relationships by giving real value to our customers.
LBB: We talk about data driving creativity, but what are your thoughts about approaching the use of data in a creative way?
Natalie: I think the possibilities are endless. One of my favourite books is Information is Beautiful, which presents data in visually stunning ways. It takes raw data and presents it in a way that is not only easy to understand, but is designed with a clever nod to what the data represents. Spotify uses its listener data in really fun ways – some of its billboard campaigns over the years have taken data and used it not only to create entertaining copy, but also create some personalisation even in a broad public setting. It’s not just about graphs and charts – data can create incredibly compelling stories.
LBB: “Lies, damned lies, and statistics” – how can brands and creative make sure that they’re really seeing what they think they’re seeing (or want to see) in the data, or that they’re not misusing data?
Natalie: One way to have faith in the data is to continually test it. In fact, it’s one of the things that we at Armadillo have a whole workstream covering. We test our assumptions constantly, and often find the data comes out differently than we predicted. The more you experience that, the less likely you are to see what you’re looking for rather than what’s there. Plus, it adds the fun of trying to figure out what’s really going on and why your assumptions were wrong. Another key thing is to start with the data or at least start with a question, rather than trying to find data that supports an idea you want to pursue. That way, you’re looking for an answer that will tell you whether that idea works or not, or using data to spark an idea, rather than misusing the data to your own ends.
LBB: What are your thoughts about trust in data – to what extent is uncertainty and a lack of trust in data (or data sources) an issue and what are your thoughts on that?
Natalie: One of the great things for us about working in CRM is that our audience is made up of people who have opted to give us their data. The important thing after that is treating their data with security and respect. If data is misused or used in ways not agreed, then of course consumers will lose trust (as they should).
Appropriate data governance is vital – as is delivering on the promise you gave when you were granted access to that data in the first place. There’s a value exchange at play, and it’s absolutely imperative that any brands meets the expectations of that exchange to ensure consumers don’t lose trust.
LBB: With so many different regulatory systems in different markets regarding data and privacy around the world – as well as different cultural views about privacy – what’s the key to creating a joined up data strategy at a global level that’s also adaptable to local nuances?
Natalie: The key here is doing nothing in isolation. Most companies need an infrastructure that is joined up, but we have to always keep in mind that one size fits one, not all. Starting with a minimum viable product that works broadly, allows you to then use local experts indifferent markets to adapt that starting point to the needs of each activation market. Localisation is essential and working with local experts is key to getting it right. Never assume anything.
LBB: What does a responsible data practice look like?
Natalie: Secure, transparent, fair, ethical. The core of any data practice is security – best in class security systems from a technological point of view, and excellent data management from a personnel perspective. People should only have access to the data they need and nothing extra. Transparency is crucial, especially when consumers are rightly concerned about what is being done with their data. An easy to find and easy to read data or privacy policy is really important part of this.
LBB: In your view, what’s the biggest misconception people have around the use of data in marketing?
Natalie: That people hate their data being used at all.
There’s a line between being helpful and being intrusive, and when marketing uses data well, consumers aren’t against it as many think. If a consumer is interested in something on an ecommerce website and gets a discount code for that item, that’s using their data in a way that benefits them. People don’t hate that. What they hate is their data being sold to other companies, being spammed with irrelevant communications, and feeling like a commodity. The trick is in finding that balance. As I’ve mentioned, it’s about a value exchange. If someone gives you valuable data – like their email address or buying habits – they expect something equally valuable in return.
LBB: In terms of live issues in the field, what are the debates or developments that we should be paying attention to right now?
Natalie: The ongoing developments in regulations, particularly around privacy. Given that they’re continually changing, understanding what consent means at any given time is a development that needs to be monitored constantly. We know that passive opt in and implied consent are no longer enough, and that ‘legitimate interest’ is constantly being tested. Keeping up with these developments is vital, and each change to the regulations makes it clear that it’s becoming more and more important to have first party data.
Article first published on 21/10/22 by Little Black Book.
UWE Bristol has unveiled its new immersive Sound Shower experience at Bristol’s Cribbs Causeway and Cabot Circus. Showing a mesmeric snapshot of campus life, the film was created by Skylark Media.
Filming took place at the university’s Frenchay campus and city with the support of student contributors. Multiple locations include the Atrium cafe, Centre for Sport, student union, library, as well as at the Arnolfini in the city centre.
Stephanie Lee, Marketing Communications Manager at UWE Bristol says, ‘This is a really exciting film project with Skylark Media where we’re creating a film for a specific sound shower unit which will sit in Cabot Circus and Cribbs Causeway shopping centres to promote the university and bring campus life to the people of Bristol, so they can get a real immersive experience and sense of what it’s like to study here on our campuses.’
Skylark Media MD Jo Haywood adds, ‘For a unique out of home experience, we came up with a fully immersive concept using an Insta 360 camera on an extendable pole. It sits within the stitch line which then becomes invisible in post-production. The result is a fully immersive film that mimics a FPV drone – flying around from location to location or locking into subjects for detail. Diegetic sound is added in so that the viewer can eavesdrop into those private moments.’
You can experience UWE Bristol’s immersive Sound Shower at Cribbs Causeway or Cabot Circus this month.
Samaritans is launching an ambitious fundraising campaign to get people talking about the ‘S’ word. The charity’s winter campaign, which runs from November through to January, includes a TV ad created by Skylark Media Bristol and Campfire Agency.
#BreaktheSilence is a fundraising campaign where Samaritans is calling on supporters to donate and share their support with others via their social platforms. The campaign includes a series of short videos featuring callers and listening volunteers and a television advert to run in unison with the campaign. Skylark was appointed to handle creative production which included all live action content and photography for the integrated campaign.
Bristol based Skylark Media MD Jo Haywood says, ‘Talking about mental health and supporting each other is important within the Skylark team. So we are delighted when the Samaritans asked us to deliver their winter campaign, #BreaktheSilence. We hope that the impact of the emotional storytelling in the TV ad, ‘Silence is painful’ and the authenticity of the callers and listeners in our short video series will encourage people who feel isolated to break the silence and reach out to the Samaritans this winter.’
Paul Power, Creative Director at Campfire Agency adds, ‘I know that all of us at Campfire Agency are proud to be working with Samaritans on their Break the Silence campaign – because silence really does cost lives. When you think that someone in the UK dies by suicide every 90 minutes, it brings it home how it important this winter campaign is.
With the cost of living crisis, it’s going to be a tough few months for so many people, so there couldn’t be a better time to launch these powerful communications, from DRTV and direct mail to digital and social.
With distinctive photography, powerful stories and hard-hitting messaging about suicide, we believe this integrated fundraising campaign will create an emotional connection with millions of people across the UK.
If it encourages one person who’s reaching crisis point, to start talking about suicide, then all the hard work will have been worth it. If we can raise nationwide awareness and essential funds for Samaritans on top of that, then we know the Break the Silence campaign has been the success we all hope for.’
Samaritans Executive Director of Income, Sonya Trivedy says, ‘The #BreakingtheSilence campaign is an opportunity to drive the conversation in these times of continued uncertainty, with issues such as loneliness, isolation and the cost of living crisis, meaning it could be a challenging winter for many people.
“Hopefully this new campaign will reassure people that Samaritans volunteers are here for people to talk to when they are ready to break their silence. Mental health, wellbeing and suicide are things that affect every one of us. With #BreaktheSilence we want this bolder messaging to encourage people to sit up, take notice and be moved to take action so that we can work towards our vision that fewer people die by suicide.‘
‘Silence is painful’ airs from 9th November on ITV Digital, Sky Media amongst other channels. The campaign runs until January 6th. For more information visit www.samaritans.org.
The importance of nurturing the region’s exceptional creative talent, alongside innovation, diversity, and sustainability were highlighted as priorities by industry experts and the audience at the first day of the inaugural Bristol and Bath Screen Summit, yesterday (2 November).
More than 100 people attended the event at Arnolfini, which was hosted by broadcaster Carol Vorderman and The Outlaws’ Gamba Cole.
Showcasing the city region as a leading global production community, the Summit was opened by the Mayor of Bristol Marvin Rees. Guests heard from programme makers from some of the world’s biggest brands, including Bristol’s Grant Mansfield, founder and CEO of Plimsoll Productions, and Julian Bellamy, managing director, ITV Studios.
Lynn Barlow, Assistance Vice-Chancellor Creative and Cultural Industries Engagement, said: “A clear message from the first day of the event is that people are key to the industry’s success, and the incredible talent base and amazing track record of TV and film in this area is continuing to drive growth. We should celebrate what we have already achieved, but there is still much to do, particularly pushing innovation through creativity and technology, but also ensuring the industry is representative of all audiences by creating a more diverse and inclusive workforce.
“Thank you to the panellists who kindly gave their time to speak at the Summit – their insight really demonstrates how much the region has to offer as we look to the future.”
The creation of the Screen Summit is a key recommendation from research by UWE Bristol’s Digital Cultures Research Centre (DCRC); it found that while the screen industry in the city-region is booming, more could be done to overcome the political and economic challenges its facing.
As day two of the Summit gets underway today (Thursday 3 November), academics from UWE Bristol’s Digital Cultures Research Centre and the University of Bristol, will join regional and national policy makers and industry leaders to explore potential interventions needed to sustain clean inclusive growth in the city region’s production community.
In particular, they will discuss ways of supporting and extending the emerging indigenous film and television drama in the area, considering the benefits of creating a ‘regional production fund’ and access to investment packages, either to companies already based here or to those looking to bring productions to the area.
Speakers from other regional screen agencies, including Liverpool City Regional Production Fund, will share best practice and provide an insight into its key learnings and successes.
With attendees including representatives from the West of England Combined Authority, Bristol City Council, the BFI, and Screen Skills, the aim will be for a working party to oversee both how funding might be leveraged and how it could be used most beneficially once the resources were in place.
Listening to podcasts is a great way to inspire and inform your creativity. We asked members of the Bristol Creative Industries LinkedIn group, which has over 7,400 members, to share their recommendations. Happy listening!
Created by the magazine dedicated to the creative industry, the Creative Boom Podcast features candid conversations with artists and designers about their creative journeys. Listen here.
Recommended by Ellen Carroll.
This is a podcast that “questions assumptions in the tech world and celebrates those working with technology in unconventional ways.” Listen here.
Recommended by Jessica Morgan (see Jessica’s BCI profile for Carnsight Communications here).
Hosted by Adam Tuckwell and Jon Wilcox, the PR Hub Podcast is a conversational PR and marcoms podcast with special guests discussing the world of communications. Listen here.
Recommended by Gina Jones.
This podcast includes interviews and discussions between Robert Craven and digital agency experts providing insights to help you grow your digital agency. Listen here.
Recommended by Robert Craven.
This podcast focuses on documentary film making and the people who do it. Listen here.
Recommended by Stuart Fox.
This podcast features marketers telling the stories behind the strategies that led to amazing work. Listen here.
Recommended by Kevin Mason (see Kevin’s BCI profile for Proctor + Stevenson here).
Hosted by Jon Evans, this podcast “uncovers the bulls**t and carefully managed PR messages to explore the good, the bad and quite frankly downright ugly truth about marketing”. Listen here.
Recommended by Matt Ramsay (see Matt’s BCI profile for Activation here).
This podcast features B2B marketers and creatives from the tech world discussing the role that creativity plays in helping them market their business. Listen here.
Recommended by Dave Corlett.
Hosted by entrepreneur and Dragons’ Den investor Steven Bartlett, this podcast is described as “an unfiltered journey into the remarkable stories of the people that have defined culture, achieved greatness and created stories worth studying”. Listen here.
Recommended by Alli Nicholas, membership manager at Bristol Creative Industries.
This podcast features conversations on the art of creative entrepreneurship. It is hosted by leading creative business experts David C. Baker and Blair Enns. Listen here.
Recommended by Alli Nicholas.
David C. Baker joined BCI for an event in February 2021 to share brilliant tips on how creative businesses can write the perfect positioning statement. Read a summary of his advice here.
“Aaron Dignan and Rodney Evans help teams all over the world discover a more adaptive and human way of working. Now it’s your turn. Each week, they’ll bring you a counterintuitive take on a common challenge at work—and you’ll hear from guests who have been there and found their way to something better.” Listen here.
Recommended by Kim Slater.
This podcast focuses on the smallest changes that can have the biggest impact. It shares simple evidence-backed tips to help you kick bad habits, get a raise, and grow a business. Listen here.
Recommended by Dr Thomas Bowden-Green.
“Organisational psychologist Adam Grant takes you inside some truly unusual places, where they’ve figured out how to make work not suck.” Listen here.
Recommended by Chris Thurling, chair of Bristol Creative Industries following a recommendation by Ann Hiatt.
This podcast from Creative Review looks at what is wrong with the creative industries and how to fix it. Listen here.
This podcast, from the community for creatives to make our industry a better place, interviews creatives, mental health experts and consultants to share advice, stories and conversations. Listen here.